pay equity :: essays research papers

The American Association of University Women (AAUW) has long fought to end wage discrimination. Despite the Equal Pay Act and many improvements in women’s economic status over the past 40 years, wage discrimination still persists. AAUW continues to believe that pay equity—economic equity—is a simple matter of justice and strongly supports initiatives that seek to close the persistent and sizable wage gaps between men and women. The effects of pay inequity reach far. According to a 1999 study by the Institute for Women’s Policy Research and the AFL-CIO, based on U.S. Census Bureau and Bureau of Labor statistics, women who work full time earn just 74 cents for every dollar men earn. That equals $148 less each week, or $7,696 a year. Women of color who work full time are paid even less, only 64 cents for every dollar men earn—$210 less per week and $11,440 less per year. With a record 64 million women in the workforce, pay discrimination hurts the majority of American families. Families lose $200 billion in income annually to the wage gap—an average loss of more than $4,000 for each working family. In addition, wage discrimination lowers total lifetime earnings, thereby reducing women’s benefits from Social Security and pension plans. Wage inequalities are not a result of women’s qualifications or choices. Wage discrimination persists despite women’s increased educational attainment, greater level of experience in workforce, and decreased amount of time spent out of the workforce raising children. †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Education. Although the number of women attaining baccalaureate and advanced degrees now surpasses the number of men, in 1999 the median wages of female college graduates were $14,665 less than those of male graduates. College-educated African American women earn only $1,500 more than white male high school graduates. †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Experience. Women gain only approximately 30 cents per hour for five additional years of work experience, compared to $1. pay equity :: essays research papers The American Association of University Women (AAUW) has long fought to end wage discrimination. Despite the Equal Pay Act and many improvements in women’s economic status over the past 40 years, wage discrimination still persists. AAUW continues to believe that pay equity—economic equity—is a simple matter of justice and strongly supports initiatives that seek to close the persistent and sizable wage gaps between men and women. The effects of pay inequity reach far. According to a 1999 study by the Institute for Women’s Policy Research and the AFL-CIO, based on U.S. Census Bureau and Bureau of Labor statistics, women who work full time earn just 74 cents for every dollar men earn. That equals $148 less each week, or $7,696 a year. Women of color who work full time are paid even less, only 64 cents for every dollar men earn—$210 less per week and $11,440 less per year. With a record 64 million women in the workforce, pay discrimination hurts the majority of American families. Families lose $200 billion in income annually to the wage gap—an average loss of more than $4,000 for each working family. In addition, wage discrimination lowers total lifetime earnings, thereby reducing women’s benefits from Social Security and pension plans. Wage inequalities are not a result of women’s qualifications or choices. Wage discrimination persists despite women’s increased educational attainment, greater level of experience in workforce, and decreased amount of time spent out of the workforce raising children. †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Education. Although the number of women attaining baccalaureate and advanced degrees now surpasses the number of men, in 1999 the median wages of female college graduates were $14,665 less than those of male graduates. College-educated African American women earn only $1,500 more than white male high school graduates. †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Experience. Women gain only approximately 30 cents per hour for five additional years of work experience, compared to $1.

Inspirational Speech

LET’S MAKE IT BETTER!!! LONDON UNDERGROUND TRANSPORT FOR LONDON 21ST OF OCTOBER 2010. Dear All My Colleagues London underground started its journey in 1863 and since then it has been Londoners one of the most dependable transportation system. You are the people who keep it alive and running. With your continuous effort and hard work we are giving our best service to our customers. You all deserve a big thank you for all your dedication towards making underground better. Our journey is not always easy. We have to been through many ups and downs. I am still scared thinking about 7/7 incident.We had a big blow that day but we have managed very well to be on track. We tried our best to run our trains as soon as possible after the bombing incident. I still feel sorry for all who have been died or affected on that day and hope we will never have to face this kind of things again. â€Å"Man is not made for defeat. A man can be destroyed, but not defeated. †[i] We will not be d efeated; we don’t know how to lose. It’s our holy duty to make sure all Londoners can travel safety and comfort. We will take LU to a high standard that can be example for the other world.Our vision is to deliver a world-class Underground for a world-class city. This is a realistic goal, and we have made great strides, but there are still challenges to overcome before our transformation of the Tube is complete. [ii] Recently we have some staff disagreement and Londoners have faces two consecutive tubes strike this and last month. It has affected London very badly and costs at least ? 50 million pounds and disrupts millions of journeys. [iii] Our strategy is to combine a reliable train service with the highest standards of customer care – something we take from our heritage.So if there is any kind of disagreement it should be solved in table not by stopping Londoners life. Because all the member of public pay to travel and also billions of pounds of tax payers mo ney into it. Our challenge is to keep London moving while we transform the Tube. To overcome the legacy of under-investment, we have embarked on a massive investment programme to deliver the extra capacity needed to keep pace with rising demand. The level of renewal and refurbishment work is on a scale unseen for more than 60 years.It presents a major challenge: maintaining the service during the biggest rebuilding programme the Underground has ever seen. So we really need your motivation and inspiration to make LU better. Without your afford our all investment and planning would go into ruin. I believe with your help and support London Underground will be people’s best choice for transportation and will create an excellence. Thank You HR Personnel London Underground. ———————– [i] Ernest Hemingway [ii] TFL. GOV. UK [iii] The Daily Telegraph Inspirational Speech LET’S MAKE IT BETTER!!! LONDON UNDERGROUND TRANSPORT FOR LONDON 21ST OF OCTOBER 2010. Dear All My Colleagues London underground started its journey in 1863 and since then it has been Londoners one of the most dependable transportation system. You are the people who keep it alive and running. With your continuous effort and hard work we are giving our best service to our customers. You all deserve a big thank you for all your dedication towards making underground better. Our journey is not always easy. We have to been through many ups and downs. I am still scared thinking about 7/7 incident.We had a big blow that day but we have managed very well to be on track. We tried our best to run our trains as soon as possible after the bombing incident. I still feel sorry for all who have been died or affected on that day and hope we will never have to face this kind of things again. â€Å"Man is not made for defeat. A man can be destroyed, but not defeated. †[i] We will not be d efeated; we don’t know how to lose. It’s our holy duty to make sure all Londoners can travel safety and comfort. We will take LU to a high standard that can be example for the other world.Our vision is to deliver a world-class Underground for a world-class city. This is a realistic goal, and we have made great strides, but there are still challenges to overcome before our transformation of the Tube is complete. [ii] Recently we have some staff disagreement and Londoners have faces two consecutive tubes strike this and last month. It has affected London very badly and costs at least ? 50 million pounds and disrupts millions of journeys. [iii] Our strategy is to combine a reliable train service with the highest standards of customer care – something we take from our heritage.So if there is any kind of disagreement it should be solved in table not by stopping Londoners life. Because all the member of public pay to travel and also billions of pounds of tax payers mo ney into it. Our challenge is to keep London moving while we transform the Tube. To overcome the legacy of under-investment, we have embarked on a massive investment programme to deliver the extra capacity needed to keep pace with rising demand. The level of renewal and refurbishment work is on a scale unseen for more than 60 years.It presents a major challenge: maintaining the service during the biggest rebuilding programme the Underground has ever seen. So we really need your motivation and inspiration to make LU better. Without your afford our all investment and planning would go into ruin. I believe with your help and support London Underground will be people’s best choice for transportation and will create an excellence. Thank You HR Personnel London Underground. ———————– [i] Ernest Hemingway [ii] TFL. GOV. UK [iii] The Daily Telegraph

Roles and Functions Paper

HCS 325 Roles and Functions Paper 10/22/12 The four major functions in managing health care accurately are planning, organizing, leading, and controlling. Managing health care is important especially for employees and your place of business (Lombardi). These factors ensure quality service without any rest stops or burdens being an issue. Within the health care field, employees usually have trouble with communicating with the higher authority due to issues and lack of time.Planning is important to ensure that goals are being set and that the future looks brighter than what it already is. Planning comes along with meeting needs and focusing on the employees well being. Organizing is ensuring that all things are done and made on time (Hagemann). Organizing comes along with ensuring that there is no time to make residents/patients wait for care. Leading is one of the most important parts of management because this can leave a reputation that either looks good or bad.This is the time wher e employees should offer suggestions and speak up on any problems that they may have on the job. This is also the time to set goals for employees to meet by a certain period. This gives the manager time enough to challenge those who work under him so that he/ she can get a hint of what assignments should be given to what employees based off how they perform. Controlling is very important because this way everyone is following guidelines and rules along with working as a team rather than individual performance.Employees should be able to call on one another to help each other out so that no one feels left behind or less than. (Hedlund) The most important role for a health care manager and leader throughout a diversified health industry is to maintain balance meaning always be sure that everyone is comfortable as well as equality towards each individual. The manger should have different innovative ways that will cover a diversified health care industry. I will love to gain more inform ation about how to be more of a leader than a manager in a health care setting. T * The References * Lombardi, D. N. , & Schermerhorn, J. R. (2007). Health care management: Tools and techniques for managing in a health care environment. Hoboken, NJ: John Wiley & Sons. * Hagemann, Bonnie; Stroope, Saundra. T+D. Jul2012, Vol. 66 Issue 7, p58-61. 4p. 1 Color Photograph * Hedlund, Nancy; Esparza, Angelina; Calhoun, Elizabeth; Yates, Jerome. Physician Executive. Sep/Oct2012, Vol. 38 Issue 5, p6-12. 6p. 1 Color Photograph, 1 Diagram. Roles and Functions Paper Managers in the health care field have many important roles and functions. As the health care system continues to evolve, sound management is critical to the survival of health care institutions (Johnson, 2005). Every manger’s main duty is to succeed in helping the organization achieve high performance while utilizing all of the organization’s human and material resources (Lombardi and Schermerhorn, 2007). Mangers in the health care field must strive to improve daily operations and make future planning on ways to improve efficiency and productivity. According to Lombardi and Schermerhorn (2007), on a daily basis health care managers must recognize performance problems and opportunities, make good decisions, and take appropriate action. This is achieved by using the process of management; planning, organizing, controlling the use of resources, and leading to accomplish performance goals. One of the day–to-day responsibilities of a health care manager is informing the team members about what is expected of them. Health care mangers must also recruit, train and develop team members (Lombardi and Schermerhorn, 2007). Other responsibilities are the following: coordinating with other teams, plan meetings, figure out the work schedules, and clarify goals and tasks. The most important responsibility of a health care manger I believe a health care manager has is to ensure that each team member has the tools he or she needs to be productive. Mangers must also take on certain roles in order to ensure that team members are being productive. There are three categories that the roles of a health care manager fall in; interpersonal roles, informational roles, and decisional roles. Interpersonal roles involve interactions with people inside an outside the unit (Lombardi and Schermerhorn, 2007). Informational roles of a health care manager involve giving, receiving, and analyzing information. Finally, the decisional roles of a health care manger involve using information for decision making, problem solving, and addressing opportunities (Lombardi and Schermerhorn, 2007). The most important role of a health care manger I believe is giving, receiving, and analyzing information because communication between management and team members ensure that the needs and wants are being met. There are many responsibilities and roles a health care manger must fulfill. The most important responsibility of a health care manger I believe a health care manager has is to ensure that each team member has the tools he or she needs to be productive. The most important role of a health care manger I believe is giving, receiving, and analyzing information because communication between management and team members ensure that the needs and wants are being met. By completing this course I hope to learn more about the responsibilities and roles of health care mangers. I would also like to apply what I have learned while taking this course to my work habits, so that I can improve my management skills.

Duke Ellington: the Music, Politics, and His Story Essay

Duke Ellington was a musical and political genius; he was â€Å"America’s only original musical mind. † He was not only a performer, but a composer. He learned the craft of composing by observing others instead of disciplined study. One important factor of Ellington’s music was its relation to black heritage and African American history. His symphony â€Å"Black, Brown, and Beige† displayed the African American struggle in America. Not only did Ellington use his music to portray the struggle, voice, and triumph of black Americans, he used his professionalism, originality, persuasiveness, and political performances. Edward Kennedy Ellington was born in 1899 and composed, arranged, and performed music for the majority of his life. Ellington was born and raised in a middle-class family in Washington D. C. , and that is where he first acquired his racial beliefs. During his grade school years, an emphasis of identity, pride, and history was instilled in the minds of him and his classmates. He was taught to command respect, not demand it. This meant that he was to act and speak in a respectable manner if he expected to be respected. He first began taking piano lessons at the age of seven but did not have particular interest in the trade at that time. In high school, he became interested in ragtime music. Also in his high school years, he acquired the nickname â€Å"Duke† because of his exotic choice of attire, and today, many believe that is his actual name. At age sixteen, Ellington was inspired by a â€Å"hot† pianist and decided that he wanted to be able to play like that. His knowledge of music was predominantly learned by ear, although he eventually learned to read music and took harmony lessons. Although he did have some music lessons, most of his musical mastery was self-taught by experimentation. Ellington became a professional pianist by the remarkable age of seventeen. Music was not his only artistic interest; he also excelled at visual arts. He was awarded an art scholarship to the Pratt Institute, but he preferred to play gigs instead. Duke eventually started a band of his own, originally containing only four players other than him. As the band expanded, he used the new members as resources to create a better product. Ellington and his band began a six-month residency at the New York Hurricane restaurant. There, he accompanied floor shows until he became the featured artist and broadcasted on the radio. In 1927 after the residency, he and his orchestra known as the Washingtonians moved to the Cotton Club in Harlem. He and his band were said to have â€Å"put the Cotton Club on the map†. While at the Cotton Club, his music was often referred to as â€Å"jungle music† due to his band’s trademark use of plunger mutes to create growling sounds. Often while his orchestra played, there would also be a skit being performed that was nearly primitive. At the Cotton Club, the families of African American performers had to sit in a separate section of the audience. Although Ellington was upset by this, he continued to perform at the Cotton Club because it was his opportunity to enhance his career and popularity. Duke always made sure that he and his band were dressed and behaved as gentleman in order to represent African American pride, beauty, and artistry. Unlike other African American artists of the time, Ellington’s compositions were used for the sake of listening purposes, in comparison to just background music. Silence was demanded. People who broke the silence were given a warning and then asked to leave if they disregarded that warning. This was the first time an African American band was regularly broadcasted nationally. As Duke’s music gained popularity, this became many white Americans’ first encounter with African American music. A radio popularity poll concurred: â€Å"They are heartily admired by the white as the colored people. † One of Ellington’s most prominent composing techniques was that he composed parts for the particular individual in the band rather than the different instruments. When he wrote a composition, he did so with the characteristic sound of the soloist in mind. An example of a musician with a distinctive sound is Johnny Hodges. Johnny Hodges was a member of Duke’s orchestra who had â€Å"complete independence of expression†, Ellington said. Ellington also stated that Hodges was the only man he knew who could pick up a cold horn and still play in tune. The specific sound of the individual was so important to a piece that if a member was to leave, the composition would almost always be omitted. Solos were atypically transferred to another musician. When Ellington composed pieces, he only had his own band in mind. This is why his orchestra’s sound cannot be imitated without sounding watered down. The unique style and tone qualities of the individuals made the orchestra nearly impossible to replicate. One thing that was often misunderstood about Ellington’s career was that he had two of them: bandleader and composer. He was famous for recording his own compositions as well as endorsements. He often composed music all through the night, and it has been said that he never went a day without composing something, whether it be a couple lines of a song or an entire piece. He would write music whenever and wherever he had the time to do it. Once, he even had to write a piece by the light of his band manager consecutively lighting matches. Ellington believed that music allowed him to express himself without reservation. Music, unlike words, provided Ellington with a way to express himself in a less controversial manner. It was a non-confrontational approach to expressing his beliefs to the world. In his compositions, he rarely wrote articulations, dynamics, or tempos. He expected the section leaders to decide the style indications. It is commonly know that Duke had finesse for placing an emphasis on colors in his compositions. The colors he used in the titles of his pieces often symbolized racial issues. He did a lot of experimenting with tone and color. Most of his music was instrumental and few incorporated lyrics. Some say his music is reminiscent of Bach. He mostly wrote short compositions with improvised solos, but when he did compose larger arrangements, they were often criticized for having a lack of inner coherence. He used the element of surprise instead of chorus succession to unify the arrangements. Ellington relied on sudden contrasts in theme, tempo, and key. He would also interchange swinging and non-swinging melodies. Some critics argued that his music should be danceable all of the time. Ellington clearly disagreed. Ellington’s compositions differed from other artists’ of his time because he employed a variety of instruments. Not only did he integrate a reed section, brass section, and rhythm section; he featured a valve trombone, a saxophone trio, and a baritone saxophonist who unusually played high notes. The reed section often provided the melody rather than the typical brass section. Ellington would apply asymmetrical themes such as parallel saxophone parts and improvised piano parts. He eventually stopped referring to his music as jazz. He called it â€Å"freedom of expression†. Ellington wanted to express the struggle of the Negro in his music, â€Å"We put the Negro feeling and spirit in our music. † Although his message was very serious, his music generally uplifted and entertained audiences around the world. When Ellington wrote compositions, he allocated certain measures for improvised solos. While it may seem that all of the solos in Ellington’s pieces are improvised, he actually composed the solos to seem as if they were improvised. This became known as â€Å"preconceived improvisation†. Only minor improvisations were allowed during the solos. In 1940, Ellington reached the peak of his compositional career. African American media deemed Duke Ellington the â€Å"race man† because he changed the image of African Americans in mass media. He was the first African American artist taken seriously without stereotypes. His music described the life of black Americans. He exuded his love of Harlem through is compositions. He used color in his music to radiate his appreciation and understanding of African Americans. His early arrangements represented the struggle of blacks during the Great Depression. Ellington was a strong believer that music could undermine the labels associated with how African Americans dressed and acted. His concern with blacks being portrayed as primitive encouraged him to strive to create a new identity for blacks in America through music. Ellington learned at a young age that a positive demeanor was crucial in order to earn respect. Since he was taught this so early, he always tried to be professional and as efficient as possible. He spoke of the significance of having a dignified stature and level of sophistication. Through radio, sound recordings, sheet music, advertising, and stagecraft; Ellington changed people’s conceptions of race and culture. In his advertising techniques, he focused on creating an image of desegregation. Black and white entertainers began to share advertising space, which was one step toward African American equality. His overall goal was to conquer racial and cultural stereotypes in and out of the media. He was forced to break through the barriers of the Eurocentric idea that African American music was not a form of art. He stopped using minstrel stereotypes that he had previously used at the Cotton Club. By the 1930s, he had differentiated many stereotypes from reality. It was important to Ellington that his marketing approach attracted all races and classes. He eliminated some prejudice by proving that music has no race. He always made sure to articulate the achievements, history, and value or African American culture. He trusted that the most efficient manner to protest was to â€Å"live and create in a way that undermined racial barriers and stereotypes†. Ellington, contrasting from many other African American artists, succeeded without using the white-dominated recording style. He was actually playing African American music and his pieces were on the record charts. Normally African American traveling performers struggled while on the road. Hotels and restaurants would not allow them. They would be physically and verbally attacked which often led to alcoholism. When Duke traveled in the South, he also brought two Pullman cars, a baggage car, lighting equipment, a stage, and an electrician. These assets made for a more secure trip. Ellington received the high honor of the Spingarn Medal which was the highest achievement for the American Negro. During his acceptance speech, he stated that he makes music for freedom. He later joined the Emergency Committee of the Entertainment Industry. This committee was opposed to race riots and poor treatment of minorities. This group advertised on stage, screen, and radio. In 1929, he played at a benefit performance. The proceeds when to the memorial fund for Home for Negro Performers. Another political act he did was assisting Dr. Martin Luther King Jr. by performing during the Montgomery Bus Boycott to raise funds for the Montgomery Improvement Association. Duke was described as a â€Å"symbol of power of multiracial appeal, the artistry and respect that African Americans could achieve, the money that could be made from the neglected African American market, and the possibility of a comfortable and mutually profitable meeting point for African Americans and whites. † This quote explains how the integration of blacks and whites could be beneficial to society as a whole. When Ellington traveled internationally, he came to realize that jazz music was more popular outside of the United States of America than inside. His overall goal of disproving African American stereotypes was a world project, not just a national project. He and his orchestra became the first jazz band to perform at Carnegie Hall when they premiered â€Å"Black, Brown, and Beige†. Ellington’s success created a new market for African American musicians. One of the first mixed race performances was â€Å"Cotton Club Medley† by Ellington. At this point in time, African American music had become a popular music genre. Racial lines were crossed within music advertising. White and black performers were featured on entertainment ads. Not only had Ellington become the most written about celebrity in this phase of time, his earnings were in the five figures. At the age of sixty, Ellington composed and recorded a song with John Coltrane and Charles Mingus for a motion picture. In the 1960s, he was considered the best known musician and composer in the world. In 1964, he composed a piece to defend the termination of segregation and discrimination entitled â€Å"Non-violent Integration†. Listening to the music of Duke Ellington began to symbolize looking at African Americans in a new light. Ellington’s final works submitted his vision of music, peace, brotherhood, and love. Ellington said, â€Å"The Negro is not merely a singing and dancing wizard but a loyal American in spite of his social position. I want to tell America how the Negro feels about it. † When he stated this, he denoted that black people were more than just a device for entertainment purposes; they were American citizens. One of Duke Ellington’s longest and influential pieces was â€Å"Black, Brown and Beige†, which was composed and performed in 1943. Ellington described this work as â€Å"a tone parallel to the history of the American Negro. † This composition was established to portray the history of the Negro from Africa to the present. The title â€Å"Black, Brown and Beige† symbolized the different skin tones of African Americans. Each color in the title also represented a different movement of the composition. When composing this work, Ellington incorporated music from the opera â€Å"Boola† and transformed it into a tone poem. He did not finish editing the arrangement until the day of his Carnegie Hall performance. This explains that Duke believed a piece could be altered numerous times in order to create a great product. Ellington and his orchestra premiered the full symphony, â€Å"Black, Brown and Beige† at Carnegie Hall in 1943. Five days later, they performed once again, only this time at Boston’s Symphony Hall. These two performances became the only full performances of â€Å"Black, Brown and Beige† for many years to come. Duke decided to only play excerpts from the piece in the future. The six most popular excerpts were â€Å"Work Song†, â€Å"Come Sunday†, â€Å"The Blues†, â€Å"West Indian Dance†, â€Å"Emancipation Celebration†, and â€Å"Sugar Hill Penthouse†. The premiere of the piece was deemed confusing and disappointing by critics. People who were not accustomed to Ellington’s musical style were also perplexed by â€Å"Black, Brown and Beige†. Ellington and his band began performing sections of â€Å"Black† and â€Å"Brown†, but rarely performed sections of â€Å"Beige† until 1965. He refused to play â€Å"Brown† in its entirety because he claimed that people did not understand the important story behind it. Ellington often spoke of his message prior to performing a piece, also called programming. His first biographer, Ulanov, said that â€Å"Black, Brown and Beige† was â€Å"more successful without programming†. Ulanov also stated that people â€Å"didn’t need to know about the American Negro to understand the music. † The first movement of â€Å"Black, Brown and Beige†, â€Å"Black† was worked at the most thoroughly of the movements. The first movement interpreted the sorrows and joys of the Negro when brought to America from Africa through work songs and spirituals. According the Ellington, the second movement, â€Å"Brown†, represented the recurring hopes and disappointments of blacks in America. It also symbolized the pain suffered through whippings, the bravery of the African Americans who attempted and/or succeeded at escaping, and the triumph of their emancipation. The last movement, â€Å"Beige†, was said to be a â€Å"vague and unfinished working of ideas†. Originally, the finale of â€Å"Black, Brown and Beige† consisted of the lyrics, â€Å"We’re Black, Brown, and Beige, but we’re red, white, and blue. † Although Ellington was advised to remove the line from the performance completely, he simply omitted it from the finale and instead, announced it in his programming prior to the final movement. This line was evidently very significant to Duke Ellington. It represented the point that although African Americans were different shades than white people, they were still Americans and deserved equal rights. â€Å"Black, Brown and Beige† was performed in segments for a few decades. The version recorded in 1958 was criticized because it was believed to have expanded the flaws of the original premiere at Carnegie Hall. During the 1958 recording, there were only four other musicians, excluding Ellington, remaining from the original orchestra that performed in 1943. These musicians were Ray Nance, Lawrence Brown, Johnny Hodges, and Harry Carney. Ellington took another large step toward presenting the African American struggle when he and his orchestra performed â€Å"Black† at the Festival of the American Arts in 1965. The audience included approximately four hundred members including President Lyndon B. Johnson.

Ophelia “Frailty They Name Is Woman”

Hamlet says, â€Å"Frailty thy name is woman†. Consider this statement in the light of the presentation of Aphelia; Identify key scenes and soliloquies for analysis Discuss various productions/interpretations State your preference of interpretation The word frail meaner when a person or object has the quality of being weak, fragile, weak in health or being morally unstable, also someone who is easily manipulated and influenced by people that surround them, unable to stand on their own. In this essay I plan to look into the character of Aphelia in the play Hamlet by WilliamShakespeare, to see whether she is a frail character and what factors contribute to this. I want to look at particular scenes where Aphelia is involved and ones where she is being described and used in order to see how Aphelia reacts to the other characters in the play, to see if she shows any particular signs of being frail. In act 1 scene 2 Hamlet is referring to his mother describing his feelings on how un acceptable it is that she has moved on so hastily from the man that she seemed to love so dearly. He then says â€Å"Frailty, thy name is woman! He is at the time aiming his comment at his mother and his anger for the new King but he also labels innocent Aphelia under this as well. We have to remember that Aphelia was brought up in a society that is male dominant, the women in Elizabethan times had little control on what was to become of their lives and were closely governed by their fathers and husbands. The women in this period would be expected to obey their husband's orders and father's wishes. It is therefore not surprising that Aphelia isn't given many lines in the play itself but she is a key tool used throughout by; Hamlet,Polonium and Claudia in a bid to out do and catch one another out. I would agree with Jacques Lilac here in his introduction of Aphelia in one of his seminars that began with â€Å"That piece of bait named Aphelia† she is indeed used as bait by tho se closest to her and they don't seem to care if the bait gets snapped up in the process. This meddling and toying with her makes it impossible for her to escape and contributes to her death, this is done by the people close to her whom she looks up to and respects enough to be reliant on them and to also totally trust them with her affairs and problems but they misuse her and manipulate her naivety.From the beginning Aphelia is portrayed to us as a delicate, well spoken, respectful young lady but one who is being instructed and ordered by her brother to uphold the family name by not consenting to sex with Hamlet before marriage, even though she does voice her own opinions on the matter she does seem to obey and follow what her brother is firmly suggesting she does. Although I think here Aphelia shows her true collectedness and wit in that she knows that her brother is likely to be going against these rules himself and therefore being hypocritical.But, good my brother, Do not as som e ungracious pastors do, Show me the steep and thorny way to heaven, Whiles, like a puffed and reckless libertine, himself the primrose path of dalliance treads, and reeks not his own red. † Here she voices her point but in a very dignified way. All she wants is her brother to have a sense of fairness between them and put aside the fact that she is seen as weaker being a woman and is almost voicing a plea for equality. In comparison after this she is then instructed again, now by her forceful, religious father who simply thinks that Hamlet's love for Aphelia is not love t all but that it's Just lust.He thinks he has his daughter's best interest in mind but he doesn't give her much time to think about her feelings or to voice them to him. In act 1 scene 3 Aphelia confides in her father explaining what Hamlet has said to her and also what she believes Hamlet's feelings are towards her. â€Å"And hath given countenance to his speech, my lord, with almost all the holy vows of hea ven. † This shows not only that she trusts Hamlet's love but that she is very open with her father and that she has a great deal of trust in him and doesn't have to hold back or keep secrets from him.She is quite naive in thinking that she can have complete trust in Polonium. He uses this great trust his daughter has in him to his advantage to gain favor with Claudia. Some may say that it is here she is frail in that she does not stand up for what she believes or for her love for Hamlet. She quickly obeys her father's wishes to stop seeing him without thinking about what she truly wants. In reply to Aphelion's feelings and beliefs on Hamlet's love for her, Polonium shows in his tone and language his disregard for his daughter's feelings and level of maturity. â€Å"Think yourself a baby. † off speak like a green girl. â€Å"Ay, fashion you may call it. † Here he is likening her to a baby, maybe meaning she is weak, young and frail and has to depend on others in o rder to survive amongst them. Also he mocks her because he does not believe that Hamlet's love for her is real although she does. He is almost humoring her because he thinks she is a fool for thinking that Hamlet's love is true and is constantly putting her down calling her a green girl because she is not ripe yet and therefore not old enough to see what is really going on. This scene and discussion ends simply with Aphelia saying; l shall obey. She has been brought up not to argue with her father but I agree with David Pennington when he says, â€Å"Aphelion's willingness to let her father interpret for her is very disappointing† because in contrast to her ability to stand up to her brother she has no ability to oppose her father. In act 2 scene 2 Polonium is conversing with Claudia trying to arrange a meeting between Aphelia and Hamlet. â€Å"I'll loose my daughter to him. † Her father talks about her like a piece of bait or a pawn under his complete control, he make s her sound like an animal being let loose like a wild dog, suddenly released.This is her father yet again taking control of her life and happiness when he suggests that they set up a meeting with Hamlet so that Polonium and Claudia get to spy on the situation and hear what Hamlet has to say. It is in this scene that Hamlet now uses Aphelia as a target for his anger, frustration and feelings of hatred for the foul play of Polonium and Claudia. He is blunt and horrible when he voices his anger claiming there was never anything between him and Aphelia; â€Å"l loved you not† â€Å"Marry a fool for wise men know well enough what monsters you make of them. Hamlet is quite cold hearted and harsh in the things he chooses to say to Aphelia. He also directs comments through her such as; â€Å"l say we will have no more marriage. Those that are married already all but one, shall live. † Here Hamlet is threatening Claudia and really trying to scare and intimidate him by suggest ing that he is going to kill him. Aphelion's reaction to this scene with Hamlet and his mockery of her is little and she comes across as quite feeble with little to reply with. â€Å"O help him, you sweet heavens. â€Å"O heavenly powers, restore him. † Instead of replying directly, she is pleading to the heavens and God as if the devil or evil has changed Hamlet and she wishes they could change him back. This could be seen as naivety to think it is not down to Hamlet himself. She shows frailty here; in that she soon looses confidence and also the will to stand up for herself and the love she thought she had with Hamlet. Act 4 scene 7 Aphelion's death is announced by Gertrude in front of Alerter and Claudia.Aphelion's death is described in such a personal, peaceful and elegant way it's a very good cover up for the struggle and madness that is quickly spreading amongst the castle. â€Å"Her clothes spread wide, mermaid like they bore her up†¦ Lulled the poor wretch from her melodious lay to muddy death. † These lines said by Gertrude create a poetic image of Aphelion's supposed accidental death. The description has probably been changed in this way because committing suicide was a sin and the church would have been disgusted at the thought that someone involved with the royal family would do such a thing.Aphelia would not be authorized to have a proper funeral and burial if it was seen to be suicide. Even though parts of the description are lovely and create images and reflections of Aphelia there is still a harsh awakening with the words ‘muddy death' that soon bring o back to the reality of what has happened and now a disturbing factor has been added. You can almost misread the play and not notice she has in fact killed herself, after her suffering she doesn't even get a dramatic exit like all the other deaths in the play and seems instead to sink to her death.This may be because of Aphelion's personality and general aura that a pain ful slow death would not fit with her character and her back story. The description itself makes it seem as if the water did not have to fight to bring her down but that it was actually very easy and with no trudge, portraying that Aphelia is in fact frail in that she could not fight harder and get herself out of the deep, dark hole in her mind that she had retreated into.In the two films I have watched of Hamlet, the portrayal of Aphelia has been different. In Kenneth Branch's version, Aphelia is how I imagine her to be; quite striking, elegant and she also comes across as quite an intelligent young lady played by Kate Winglet. When she talks she doesn't shy away and seem frail, she actually seems to voice her lines quite forcefully when appropriate. However when she turns ad in this film production I think the acting and the overall look of Aphelia is somehow out of place.I think she needs to show her crazy side in a more subdued style of acting and with a slightly more psychotic side to it, this is where Franco Ziegfeld's film for me excels because I think Helena Bonham Carter's take on Aphelia is better and more like I expected it to be as depicted from the original script. Her natural ability to have that â€Å"off the rails† look about her is a major plus, she pulls off the crazy act but in an elegant and purely quite disturbing way. Her overall portrayal f Aphelia however, seems weak and she seems to Just blend further and further into the background.In conclusion I think Aphelion's character is like a child getting caught in between the cross fire and I think that her story is tragic in its own way because of her being kept close but constantly in the background. She gets forgotten about and used by the powerful men in the play. I agree with Barbara Everett when she says that â€Å"Licensor is what was once known as a â€Å"man's world†, one given up to the pursuit of power in a conventional system of rivalries. There is little place for women in such a world, and he women of this tragedy are markedly shadowy and faint†.I think that Aphelia could be seen as sheltered naive and frail. I think it's through no fault of her own however, but rather through the pressures of society, family and her peers. Bibliography http://www. opensourceshakespeare. Org http://Shakespearean. Org. UK/ critical essays on Shakespearean hamlet general editor Jack Bowen written version of one of Jacques Lagan's seminars www. Sparseness. Co. UK Henchman advanced Shakespeare set text http://faculty. Petticoats. Du/?Nichols/aphelia. HTML by Carla Williams

Comparative Matrix and essay Example | Topics and Well Written Essays - 2000 words

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